According to a posting on the JonLord.org web site, former DEEP PURPLE keyboardist Jon Lord has been commissioned to compose a concerto for Hammond organ and orchestra and with special parts for tympani. The piece will be premiered with the Oslo Philharmonic Orchestra with Tom Vissgren on tympani in Oslo, Norway in the spring of 2012. "It is basically a concerto for Hammond and an orchestra with a very virtuoso tympany part," explains Jon Lord.
"Tom Vissgren and I had become acquaintances, and he had asked me if I would write a tympany concerto. I said, 'I am not up to writing a tympany concerto but how about this…'
"I had been thinking for years about writing a Hammond Concerto. Something I could turn up and play as part of a program with an orchestra. It doesn't have to be a program of only my music, just slot me in along next to Mahler and I would be happy. So I thought about that, and told Vissgren that I could write a really virtuoso tympany part to go alongside it. We took the idea to the management of the Oslo Philharmonics and it's now commissioned for the spring of 2012. I'm getting on well with this and it's coming along nicely."
According to the Sunday Mercury, promoters of tonight's (Sunday, October 17) GUNS N' ROSES concert at Birmingham, England's NEC have hinted that the group might be allowed to play through the curfew. An LG Arena spokesman said singer Axl Rose and his bandmates would be encouraged to adhere to the stage times agreed, but added that they wanted everyone to enjoy the show.
GUNS N' ROSES is reportedly facing a fine of more than $100,000 after breaking 11 p.m. concert curfews at the band's two concerts at the O2 arena in London this past week.
According to The Sun, GUNS N' ROSES overran the curfew with both their shows (October 13 and October 14) by a total of three hours.
This latest drama follows the controversial GUNS N' ROSES August 2010 gigs at England's Reading and Leeds festivals, where the band came onstage late despite warnings from the promoters, and had both sets cut short.
On September 1, GUNS N' ROSES walked off the stage in Dublin, Ireland just 22 minutes into its set — after keeping fans waiting for well over an hour for the group to begin playing. The band returned an hour later to perform to a diminished crowd.
Considered one of the "big four" of the thrash metal era, Anthrax put New York on the map with its inventive take on infusing metal with a punk rock spirit. When singer Joey Belladonna joined in time to record 1985's Spreading the Disease, that band had its classic, and arguably most fruitful, line-up.
Over the course of the next seven years, Anthrax pioneered a true fusion of rap and metal as well as expanded the idea of what metal could be by injecting a healthy dose of silly, and sometimes biting, humor along with warping the sometimes rigid lines of heavy metal's aesthetics.
Playful yet heavy, Anthrax made what could be unrelentingly intense music seem fun. We had a chat with Joey Belladonna, recently reunited with the band and spoke with him about how he joined, the appearance of Anthrax on Married...With Children and rejoining the band after the jump.
How did you come to join Anthrax?
Joey Belladonna: I got a call from management and they wanted to know if I wanted to check out a band called "Anthrax." And I said, "You know what? Why not?" It was my first flight on any type of plane at all from Plattsburgh, New York to Ithaca, New York. From there it was, "Wow, okay, I never heard of these guys before." Seemed pretty cool, though, pretty heavy. Seemed like they had everything going for them the way they wanted to do it. I wasn't sure what was going to come of it. I wasn't sure at first if I wanted to join because I didn't know if it was the best offer or the best thing for me to do. But it sounded good and I said, "Let's do this."
They were looking for a studio and they heard a demo from a band I was in called Bible Black. The demo was something we weren't even planning on doing and we had hardly worked it out. Apparently they heard me singing and wanted to know how to get a hold of me. So Carl Canedy, the producer, somehow hunted me down through the people that I was playing with. Bible Black actually was some guys from Rainbow -- they were part of the band Elf [the band originally fronted by Ronnie James Dio - ed.].
With Among the Living, the band became more experimental and humorous and I have to assume that you were integral to that shift. What influenced that change in sound?
It's so hard to say what influenced anybody or what turned the page. I'm writing an album now and where did those ideas come from? I don't know, collectively we just started doing it. Is it heavy enough? Is it not heavy enough? We're pretty humorous people and stuff like that starts to rub off on the songs.
Anthrax did music with Public Enemy and UTFO. Why was there such a strong link between your band and hip-hop that didn't really exist so overtly with most other metal bands in the 80s?
No, not at all. I was on my way home from, maybe doing the "Indians" video, coming in to do the UTFO thing. I was like, "Gosh, holy shit, I don't know." I forgot I even did that.
How did Anthrax become involved in that MTV contest to demolish that car in 1989 and what was it like actually going and doing it?
I don't think we planned on demolishing anything. We just knew somebody had won a contest so MTV, of course, arranged for us to go to that person's house and give the vehicle away. Next thing you know... I remember somebody said, "Now it's time to break the car." I think the person may have destroyed it long after us. She may have asked us to spray paint it or do some stuff to it. It was actually a jeep or something like that.
How did Anthrax end up on Married...With Children scripted and were your parts scripted?
Yeah, it was all on paper. You know, everything was logged in as a line for everyone. They change it daily on people and a lot of it's so strange. I think management or someone in the band approached doing something else, The Simpsons maybe. Someone had definitely been researching how we could get on that show.
For 1988's State of Euphoria you guys covered "Antisocial" by the great French heavy metal band Trust. Why that band and that song?
I had never even heard of the band when it was broached for me to sing on it. I just took as a cool song and we ripped through it. I actually sang it in French, too. It's pretty wacky sounding. I know that Maiden liked them a lot so I think that's how that trickled into our laps.
Anthrax had, and still has a wide variety of subject matter for its songs. What were some of the ideas that informed your songwriting?
There's plenty of things in the songs. Like writing about Stephen King and some of his stories. We talked about Jimmy Swaggart at the time on one of the albums. We had some comic book stuff in there because we were always reading comics. Even "Caught in a Mosh" is about moshing at the shows. You just kind of hit up whatever you can. When you hit on something, it's easier to write about quickly. There's some war commentary there. We touched on a lot of topics over the years.
Scott was doing most of the comic stuff like Judge Dread with "I Am the Law." Of course, The Stand with "Among the Living." We had a lot of sayings like "BOLN" was "Bringer of the Late News" and you get texts like that now. "MOW" was "Man of Wrongness." I think "NFL," "Nice Fuckin' Life" was one of those type of things. I love football and I thought that was cool but it wasn't anything about that. [laughs]
After years of hiatus, how did the rest of the band approach you to sing with them again?
For the reunion, they just called and said they wanted to go do a reunion tour for the fans. And I said, "That sounds really great." I wasn't sure they even wanted to be a band anymore because they seemed to be doing baby steps. Obviously, when we got done with that, the hopped on and got someone else pretty quick and didn't give any business or any ideas a chance. Of course, that didn't pan out so well. The more I get asked that question, I think, "What a waste of time."
Great, you get to venture into some new styles and other singers, but jeez. But there's no sense looking back at this point, at the same time. But there was a lot of time we could have achieved some goals. We both found out it's hard to develop that style and keep it rolling and that longevity. Something that's as dynamic as that line-up with the four of us.
Did you ever meet Joe Jackson before or after you covered "Got the Time" and what is it about his music that you find most appealing?
Yeah, I did. We were rehearsing "Among the Living" and he was rehearsing in the same building. This was before we covered the song. I didn't get to spend much time with him but we did get a chance to say, "Hey, what's up?" I remember him being really tall. He had some pretty good sized hits. I wasn't big into the music but I found him quite talented and he had some great songs. But hey, we turned that song around anyhow and it turned into a hell of a thing. I never even heard any comments toward the cover song. Somewhere he said he liked it a lot. It's hard to take a song and turn it upside down like that and get some legs with it.
This past Saturday, I had the amazing pleasure of talking to Pepper Keenan, guitarist for supergroup Down. With the long-awaited "Diary of a Mad Band" DVD set finally released, Pepper spoke at length about the live DVD and CD, meeting his rock idols, and jamming with Metallica and Lynyrd Skynyrd, among many other topics. Read my review of Down's last local performance here, and highlights of the interview below:
Examiner: So you have the live Down CD and DVD out now, you've been working on it for years… I've personally seen Down play a half dozen shows since you really got back on the road in 2006, and I always felt that the studio records don't capture the live energy of the band. Do you think these discs do justice to the live show?
Pepper: Yeah, pretty much. We did it as crude as could be done, it was really important to me I didn't want it to look like some ESPN shot thing, I wanted spit on the camera lenses and just up close, cause Down is not really a pretty band. Not much finesse, don't need much filmwork to make it happen, it's more about the energy, you know? That's why I was so set on editing the songs, and not letting anyone else do it.
Examiner: Who did the actual editing?
Pepper: Me. Me and Jimmy, just making sure that when the heavy parts come in, it feels like it does when I'm on stage seeing how it goes down. It was a fun process, it was definitely cool trying to keep the energy and just the raw cameras and all that stuff kinda add to the edge of how the thing looks, and sounds. So when you hear something, when you see a live DVD nowadays, large fancy cameras and stuff, and the band is really raw, it doesn't match each other. The Song Remains the Same, Led Zeppelin, when they're playing Black Dog, the footage looks how it sounds. Nothing digitized, nothing like that.
A lot of people don't know this, but it's a different show each night, in the order of the setlist, in the order of the tour. There's different sets each night, but I wanted to try and make each night on film be the order of the tour. So it starts in Hamburg or whatever, ends in Donnington,
Examiner: So each track is from a different show?
Pepper: Yeah. Yeah it was tricky. I wouldn't do it again, but the concept of doing the European tour, not just one city but the whole night, so all that footage, all the venues you see, that's the actual venue in that city. The one that says Stockholm, Sweden, that's the show in Stockholm.
Examiner: So that's the CD and DVD?
Pepper: No, the CD I don't remember how we pulled it together, it's the same tracks but I think in a different order.
Examiner: Talking about live Down, one thing that really makes the experience for me is the song Jail, because everyone's moshing, rocking out, and all of a sudden the lights go down, turns purple, and you guys just jam for five really tranquil minutes. First of all, how did that song even make it onto the NOLA record, which is otherwise pure metal.
Pepper. It was just a good riff I had, mellow thing, and Phil's into that kinda sh*t, as am I, and we might even do an EP of a whole bunch of songs like that, we've been talking about that for awhile, some campfire sh*t, play it at a funeral, wherever. Something to play outside of a heavy metal parking lot or something, somewhere where your friends put this on if you're sittin' in the middle of nowhere in the dark, it's another dimension. But we enjoy playing those kinds of things in those situations, and I think our fans enjoy listening to them in those situations.
Examiner: You have the whole band harmonizing at times too, not just on Jail but on songs like Eyes of the South, and Beneath the Tides. How do you guys decide when you need a four piece harmony?
Pepper: Well we all can sing, we all play in different bands so we can't just stand there. A lot of bands don't have that option, in the heavy world, nobody does that sh*t.
Examiner: What are the lyrics in Jail about? I've always wondered.
Pepper: Dude I have no idea. You'd have to ask Phil. It's just a doomy, heavy song, people love it. And I guess they can extrapolate what it means to them, but I guess it's about being trapped, somewhere inside yourself, who knows? Everyone's got their own opinion on that one.
Examiner: I guess the other really defining live Down song is Bury Me in Smoke, which always closes out the set. Can you ever see moving that around the setlist, or is that the closer for now and forever, like Freebird?
Pepper: Well I guess it's like our Freebird, you're right, I don't think we've ever not played that song last. It's just riffs, what else is there to do?
Examiner: Who wrote that riff?
Pepper: I did. I remember when I wrote it. We wrote that song all in the same room, that thing just fell out, we were done in like twenty minutes, and we just sat there and laughed our asses off.
Examiner: And you knew right away there was something golden in there.
Pepper: Well I already had the concept of a song called Buried in Smoke, and Phil just ran with that and we were gone.
Examiner: Can you talk to me, generally speaking, about live tracks versus studio tracks? Obviously the live ones have the roar of the crowd, sometimes improvisation or on-stage jamming, would you consider them better than the studio, or just different?
Pepper: Well studio is one thing, you have to throw those ideas out when you're playing live. If you wanna hear the record then stay home, but we definitely put the edge on some of the live stuff, try to make it more entertaining. People don't realize, on that tour, on this DVD, we didn't have an opening band. We were playing two, two and a half hours a night.
Examiner: I remember, the US shows were fantastic, easily some of the best I've ever seen.
Pepper: Yeah, so no other bands on the bill, and no other bands in our world were playing two and a half hours, other than Metallica, but that's arena sh*t. So we had the opportunity to stretch stuff out and do all kinds of sh*t.
Examiner: Phil is pretty well known for his onstage… rants, for lack of a better word. Are those included on these discs?
Pepper: (laughs) Yeeeah. Go to the Norway show, he really lets loose. It's funny, it's hilarious.
Examiner: So these were based off recordings from 2006, which was before Over the Under came out. And so it only has songs from the first two records, was it tough not to include footage from new songs and later shows?
Pepper: No, we were just picking strictly from that era. The whole reason we even did that European tour was because we got through a bunch of rough sh*t with Katrina, and Dimebag being murdered, and all of us dealing with different sh*t, so we decided to go to Europe and just play shows, we'd never been to Europe before. So that's the whole premise of the DVD, we go to Europe to get our heads straight, and lucky we were smart enough to bring a film crew with us, and the rest is history.
Examiner: So it's more than just a live CD or DVD, it's really the story of the band coming back to life.
Pepper: Yeah, I think the whole intro is a whole spoken word thing, talks where we're at, where our heads were at, the whole 2006, where it came from, where it leads to. It starts with us just trying to jam in Phil's barn, and ends with us playing in front of 100,000 people at Donnington during Bury Me in Smoke. Yeah, that's heavy man. It's not just a live DVD. It's a film about overcoming obstacles.
Examiner: Everyone in the band are already established musicians. You're in CoC, Jimmy in Eyehategod, Kirk's in Crowbar, but I think Rex and Phil's time in Pantera is the best known, especially record sales-wise. And obviously after Dimebag's death there was a lot of drama in that regard, but in the early days, was it ever tempting to cover a Pantera song? Or a CoC song for that matter?
Pepper: Everyone was so busy in those bands, Down was just one thing we did for sh*ts and giggles when we weren't on tour. We all lived in New Orleans, we'd just come home during Christmas, and we'd all get together and jam and catch up and get to writing songs. It started out pretty simply like that.
Examiner: Well is it ever tempting to tease the crowd with a riff from say, Walk, or Becoming?
Pepper: No, they're pretty separate entities. People know, we could do it at the drop of a hat if we wanted to. But Phil doesn't like to go back, unfortunately you can't go backwards, it ain't ever gonna happen, without Darrell there's just no point.
Examiner: Well I don't know if you're the right guy to ask this to, but the fantasy floating around the metalhead world is that Phil and Vinnie will reconcile, grab Zakk Wylde, and go out on one last reunion tour, just for the fans. Could that ever happen?
Pepper: Absolutely not. Not with Zakk Wylde I wouldn't think. When Bonham died in Zeppelin, that was it. Ain't nothing you can do man.
Examiner: Sure, but then they did the O2 shows a couple of years ago with his son on drums, and it was a nice farewell bit.
Pepper: They did one show, and they'll never do it again.
Examiner: I think that's more of Plant / Page issue than anything else.
Pepper: It took 'em what, 29 years to do that though?
Examiner: Well Plant doesn't seem to really care about it anymore. Page seems like he's dying to get back out on the road.
Pepper: Well Plant's on the road, he's busy all the time. There's a bar around the corner from my house, I saw him there about four months ago. In New Orleans, Maple Leaf, right around the corner, famous music joint.
Examiner: Wow. Do you get a lot of opportunities to meet your own personal rock heroes?
Pepper: Yeah, I met Jimmy Page this summer. I met him, we were playing a festival in London, and he was there to see ZZ Top I think, and we were playing the same day as ZZ Top. I went to the window and there he was, old dragon pants. But he was very cordial, super nice man, what do you say to a guy like that? I asked him about Achilles' Last Stand.
Examiner: Are there any other rock stars or celebrities you want to meet that you haven't yet?
Pepper: I'd love to meet David Gilmour.
Examiner: Oh you and me both.
Pepper: He's a bad son of a bitch, man. I'd like to pick his brain for two hours, maybe more than that.
Examiner: Speaking of guitar gods, I wanted to ask about the solos in Down. Because you and Kirk don't really write flashy, Van Halen-style double tapping solos, but it's not the atonal stuff like Slayer does either. How do you decide if a song needs a little lead guitar, and how to do it?
Pepper: Well the song does the talking man, when you've been doing this for so long… how many people try to overpower a song and put their stamp on it, as opposed to letting the song do its thing? For me, going (mimics flashy guitar solo) at some place that didn't need it, for me that's off. The song tells you what to do. It ain't rocket science.
Examiner: But you don't really see much double tapping stuff that tends to be stereotypical heavy metal.
Pepper: I live in New Orleans, Louisiana, I don't live in f*cking Germany. I live in the South. I listen to Skynyrd and the Allman Brothers. I don't need to double tap. I can do more with one note than most jerks can do with double tapping out their ass.
Examiner: Okay, so now I think we're at the most critical question of this interview, which is when does America, and especially us here in New York City, get to see Down play live again?
Pepper: That's a good question. Right now we're working on new material, so we're trying to keep up more of a brisk pace, once we get some new sh*t out. We're moving backwards towards the NOLA sound, go-for-the-throat kind of sh*t. We're not putting too much time into the production of it, like the last two records we did. Which I enjoyed doing, but now it's time to go backwards a little bit, have some fun. So maybe this summer.
Examiner: So summer 2011?
Pepper: 2011 summer, bank on it kid.
Examiner: I will be there! And correct me if I'm wrong, but I recall reading recently that you're thinking of releasing say a four song EP, and then hitting the road.
Pepper: Well it's more than a four song EP, but we're talking about finally getting this thing together, I don't wanna go into any detail yet, but it's going to be pretty massive. The first EP will be the first section of a whole big deal we're working on. It's gonna be f*cking nuts.
Examiner: The last several times you guys came through New York, you were playing the small clubs, ballrooms. Do you think that's where Down plays best, or do you wanna play the amphitheaters, the arenas?
Pepper: I like Roseland-type places man, Roseland's f*cking great man. It's big but it ain't too big, it's got something going on in it. We're on stage looking out at the pit out there, it looks fucking scary. It looks good when you're on the stage and it feels good.
Examiner: I agree, the three or four Roseland shows I saw you play were the best of all the venues in the area.
Pepper: Hopefully we can get back to that.
Examiner: Well, how does that compare to, you were opening for Metallica at the arenas. How is that different?
Pepper: It's just two different things. When you're opening up for Metallica for one, it's not really your crowd. You're opening up for the f*cking lions, you're just a lamb. But Down hung pretty well, so we enjoyed doing those shows, but they're not there to see you. If you're in Poland with Metallica, they ain't there to see you. But you gotta make sure that they remember you were there.
Examiner: Do you play, or set up your mix different for the arenas?
Pepper: It's louder. There's a lot more to it, just more. It's not always better though.
Examiner: Right? I feel like for a band like Down, there's more intimacy in the smaller clubs.
Pepper: I think our finest thing was just a whole tour just in older theaters. Not too big, but wooden stages and all that sh*t, and we did the same thing in Europe man, and it's just the band and it puts us in the right atmosphere and the right sound and it looks great and I think that's our thing.
Examiner: Speaking of Metallica, I was just listening to Tuesday's Gone on Garage Inc, which you played on, you get a shout out at the end of it, "thanks Pep." I know it was years and years ago, but it must've been a blast to record.
Pepper: Yeah that was a lot of fun. I sing the second or I think third verse on there, so that's what's going on. I'm playing guitar and I take the third verse.
Examiner: According to Wikipedia, you guys recorded a bunch of other songs in that session, but nothing else was released. Is that true?
Pepper: I can't remember… I think we did. I think we recorded a whole bunch of shit. I think it was a radio show or something, KSJA radio show. We recorded a whole slew of stuff, I think some of the stuff is on there, is that the only song from that live stuff that's on there?
Examiner: That's the only one on Garage Inc.
Pepper: It was a whole, I think Chris Issaks was there, Les Claypool. Jerry Cantrell was there. Gary Rossington from Skynyrd was there, that was a great day, I actually have a photograph from that day hung up on the wall in my jam room.
Examiner: So you had some true Skynyrd blood there too, it wasn't just a cover.
Pepper: Yeah, I spent a long time talking to Gary Rossington, that was great.
Examiner: I want to ask real fast too, the original line up of Corrosion of Conformity is out on tour right now, what's your take on that?
Pepper: I think it's a bunch of sh*t.
Examiner: You're not happy about it?
Pepper: No, no, no. I mean, we want to do something again, it's just I was so busy with Down and those guys had an opportunity as a three piece which is cool because some of the Animosity stuff people were asking about, and now with Mullin back in the band we're gonna try to get back together and get the four piece going, Deliverance, with that same lineup.
Examiner: So you're going to let them ride out this tour and then everything's back to normal?
Pepper: Yeah, that's what we're talking about. They're gonna do a recording of some of the songs they wrote, which is cool, hell I've been doing Down sh*t. So hopefully we'll get that sh*t wrapped up and get back out there, we don't have a record deal or nothing, but we got a sh*tload of interest that want to see CoC out there, it's just kind of a matter of getting all our ducks in a row.
Examiner: So when all is said and done, why should fans go out and spend $20 on this live set?
Pepper: Cause it's better than anything else out there. It really does show how a band is supposed to deliver. I think some kid will see this thing and go "oh sh*t, I've been getting ripped off by these other bands."
Examiner: So you think it will drive up attendance to future concerts?
Pepper: Anybody who walks into a Down show, and has never seen Down before, comes back.
Examiner: That's how I got into it.
Pepper: If we can get people like you to walk into Down shows, we would be as big as Metallica. It's just getting people in the door. There are preconceived notions about heavy metal, but once they walk in there and see what the hell's going on, they're converted. They're fans. I've met people, they've brought someone to a Down show, and then next time you see that same guy wearing a Down shirt… That was kind of the whole idea of starting the band, that's kind of where our heads are at. We're not elitist, we want everyone to join the party. So yeah, I think somebody sees this DVD they go holy sh*t, you know?
Examiner: Good Christmas gift?
Pepper: Oh yeah. It's also on triple vinyl, collector's edition. Triple live, six side vinyl, it's badass. 180 gram.
Examiner: Can you talk about that? Because vinyl's been resurging in the past couple of years, everything goes more digital and out of nowhere, everyone wants vinyl.
Pepper: I love vinyl, I'm always at a turntable. I got more vinyl records than CDs still. I enjoy the volume, think it sounds cool, I think the artwork's better, you can stare at it better than these little digital booklets. It sounds great, it's a collectible. When you switch something up on six sides like that, that means you got like three songs a side and the grooves are super wide. So when you drop that needle in the turntable into the deep grooves and the low ends are rattling off the side screws, it's a lot more than a CD gives you. You listen to Bury Me in Smoke on 180 gram vinyl, with the grooves that wide, it's f*cking punishing!
*************
Many thanks to Pepper and Down management for arranging for this interview, and to Pepper and the rest of Down for writing some of the best music ever to come out of the heavy metal world. The live CD & DVD can be purchased in a variety of formats and packages at retailers such as Amazon.com or at your local record store.
Brian Sherwin interview with photographer, graphic artist, and musician Sean Yseult (formerly of White Zombie)
Image used with permission from Sean Yseult
Sean Yseult is a photographer, graphic artist, and musician. She has played in several bands-- but is best known as having been the bassist for the heavy metal band White Zombie. Yseult was a member of White Zombie for over a decade-- and is preparing to launch a book, titled "I'm in the Band", that details her experiences touring with White Zombie as well as offering insight from others who are involved with White Zombie. The book will contain a history of the band that fans have been denied for years.
Yseult has been involved with bands such as Rock City Morgue and Famous Monsters-- and of course, White Zombie. She has performed with many musicians-- including, Rob Zombie, Jay Yuenger, John Tempesta, Tim Jeffs, Tom Guay, Ivan de Prume, Katie Lynn Campbell, and various others. However, before becoming one of the greatest bassist's in rock history Sean Yseult had an interest in photography and graphic design. In recent years Yseult has been focusing on aspects of visual art rather than music.
Brian Sherwin: Sean, you were one of the founding members of the band White Zombie-- and played bass in the band for over decade. Needless to say, White Zombie was very successful. I understand that you plan to release a book, titled "I'm in the Band", that contains tour diaries, a collection of photos, and other information that details your years as a member of White Zombie. Can you tell us about the book and your motivation for writing it? For example, is part of the motivation to give credit where credit is due as far as the band lineup is concerned?
Sean-Yseult: That is a huge part of the book - I actually reconnected with almost all of the past members of White Zombie and asked them to write a piece to go in the book. Whether that was their first impression of White Zombie, their experience within the band, or a few funny tour stories, it was entirely up to them.
I not only want to give credit where it is due to all of the band members who contributed in one way or another, but also to all of the people who helped us along the way - I have pages written by our first record producer, Daniel Rey, our first guy that booked us in the East Village, Steven Blush, our a&r guy who signed us to Geffen, the list goes on.
Part of my motivation in creating this book was hearing from our fans once our box-set came out - they were very upset upon opening it up to find not one liner note or note of reference about the band at all. When we broke up we disappeared, there was no farewell or fanfare, no chance to connect with our fans one last time. The box-set should have been our final word to the fans, but it said nothing.
When I started looking through all of the boxes of White Zombie things I had saved - photo albums, tour diaries, back stage passes, etc., so many memories came back and I felt like I had quite a story to tell, with quite a lot of visuals on hand to illustrate it. Having started off as a photo major in art school, I almost always had a camera around, so I have photos of us from day one until the very end!
BS: Speaking of White Zombie, I understand that when the band started to reach mainstream success you made the decision-- or at least brought it up to Rob Zombie and the other members of the band-- that it was vital to move from New York to Los Angeles. If my sources are correct it appears that said move was the best move for the band financially at the time and also secured the band from being dropped from GEFFEN-- which may have put the band back at square one, so to speak. Thus, one could say that if you had not had the intuition to instigate that professional leap the band known as White Zombie may have not been as known as it is today. It was a pivotal decision. That said, how deeply involved were you with the direction of the band both creatively and professionally?
SY: We were all deeply involved in the direction of the band creatively and professionally at the time, it was all four of us living together, living, eating, breathing and sleeping White Zombie. Rob and I made all of the decisions creatively and business-wise, but we were really a band, especially when we wrote music. This was up until and during La Sexorcisto being released.
While we were touring that record for two and a half years-- Rob and I broke up. At that point he started making decisions without consulting me or J., as in getting a hired hand to write techno tracks, then having me and J. try to riff over them - not the most inspiring way to write! This went down for a couple of soundtrack songs, and was a drag. With the next full album "Astro-Creep" some of these extra techno tracks are there but more artfully worked into our songs, and I don't mind it as much.
BS: Not to dwell on your years in White Zombie-- but I must ask the following. As a fan of the band I must say that I was kind of thrown off when remix albums were released. The trendy dance tracks did not really mesh well with the underground grit that one expects from a band like White Zombie-- it kind of took away from the visual and musical feel of the group in general. It left me thinking, "Where the hell did that come from?". I won't deny that the cd I had was donated to Goodwill. Please don't take offense-- but did you have any direct involvement with that choice at all? Considering what you have already said-- what did you think of that direction in general?
SY: Take offense? Are you kidding? I was disgusted by that, and have never even listened to it. Super Sexy Swinging Bullshit! I had nothing to do with that. I don't even remember being informed of it to be honest. Management probably thought it was a good idea to cash in, but had to have had Rob's approval at the very least. Rob seemed to like dance and techno, he kept trying to take us in that direction and went full on when he did his own solo record-- I think this is pretty obvious upon listening.
BS: It is not uncommon for me to hear horror stories about sexism or other related gender issues-- and the differences between how males and females are treated in specific industries-- when I interview musicians or visual artists who happen to be female. It is not uncommon for artists of any type to be stamped with their gender if they happen to be female.
For example, 'female artist', "female bassist', and other gender-specific descriptions that are never used when describing male artists. For example, you never read an article about an artist starting with so-and-so is a "male artist from…". The same can be said as far as race is concerned. Can you add your thoughts to this? Do you agree that it is time for critics and the media in general to drop descriptions based on gender that have nothing to do with the art or music itself?
SY: Definitely. That was one of my main goals as a female musician - never to be classified as a female musician. I'm happy to say I achieved that goal. Twice I was nominated in metal magazines as best bass player of the year - not best female bassist, but best bassist! There was a lot of great competition back then so I really take this as a high honor.
It makes no sense to mention gender or race, etc when it comes to musicians and artists. I think it's funny that the one field where it does make a little sense, acting, a huge stink was made about it and made people call all male and female actors just that, not actors and actresses. I find it a bit silly because the roles they play are gender specific and they, as a man or a woman, are what we are viewing. But art and music are not; why even mention it?
BS: Before your fame in White Zombie you had earned a degree in graphic design at Parsons The New School for Design in New York. It appears you have long had an interest in visual art and graphic design. Can you discuss your interest in visual art and graphic design? What excites you about introducing viewers to your visual work?
SY: I grew up filling pages with abstract graphics much like the ones I do today. I'm not sure where this came from, but it is something I've always had inside me and needed to get out. I should credit my parents for surrounding us with the arts and artists, who were constantly streaming in and out of the house. Trips to the museum and Peter Max and M.C. Escher coloring books were the norm - I suppose I just started creating my own coloring books at some point!
The main difference between my graphics now and then is the use of color is more sophisticated, my hand is a bit more trained and there is more depth of field. In high school I was introduced to photography, and acquired an old Polaroid land camera from the thrift store. I fell in love with the quality of these photos, instantly looking as though they were from a distant era. I love showing these pieces and hearing reactions - I actually overheard one octogenarian bragging that the beautiful young girl in the photo (a friend of mine) was HER, taken many decades ago. I live for moments like that.
Lost in Audobon by Sean Yseult
BS: As a photographer I understand that you are influenced-- or should I say inspired-- by Joel-Peter Witkin. Witkin, as you know, is known for his edgy photographs that tap into viewers macabre interests while at the same time being intellectually stimulating. Can you discuss that influence as well as any other influences that come to mind?
SY: I was instantly drawn to Joel Peter Witkins the minute I saw his work - but at that point my apartment looked like something out of one of his books, so you could say I felt a kindred spirit in him. Since I was a child I would collect animal bones, skeletons, and later taxidermy. This is just something you either take an interest in (or not) growing up in the woods of North Carolina. Bird skeletons on the railroad tracks, rabbit skeletons on the beach reserve . . . My father was into this collecting as well, and continued gifting me with animal skulls and snake vertebrae he would find in his land of retirement, Sante Fe, until his untimely death.
My father always had a very morbid sense of humor and I suppose I inherited that. More of an influence on me is Bellocq, who photographed all of the working girls of Storyville in New Orleans until it was destroyed in 1915. These photos are so lovely and haunting. They have such a twisted look at times, especially when the eyes are scratched out of the negative. I find them completely compelling.
BS: With your designs there seems to be a switch in your mode of thinking. One would expect a former member of White Zombie to create images focused on horror or to have an underlining sense of dark humor or brutality. Instead, these works-- at least the ones I've seen-- are bright and full of life. Can you discuss this departure from what one might expect you to do?
SY: As I said before, these graphics are something I've done since childhood and I really don't know where they come from. They are done very quickly; pen on paper; no corrections. Those are my rules. If it sucks it doesn't see the light of day. If I like it later, I color it in. I don't really draw imagery so I don't see the likelihood of a skull or vampire working it's way into my drawings. I wish there were some way to marry my graphics to my other creative endeavors, which are much darker, but it is what it is.
BS: I understand that you have been involved in collaborative projects with artist Louis St. Lewis-- can you discuss that collaboration?
SY: Louis and I met at the North Carolina School of the Arts. He was forever in trouble - the artistic genius thumbing his nose at all - and was ultimately kicked out. His work was always beautiful though, and inspiring. We developed a great friendship, stayed in touch over the years, and began working together. One of Louis' main forms of artwork is collage, and he loves using faces and photography. That is where I came in, so he would have original photography to work with. Since then it has gone in many directions, with him recently adding collaged images and gold leafing on top of 5 feet tall photo-canvases of mine.
BS: How is it different collaborating on visual art projects compared to music? Is there a difference? Do you collaborate with the same mentality with one as you would with the other, so to speak? I know with music there is the unfortunate clash of egos-- often instigated by one member over the others in the group-- that can occur. What are your thoughts on this?
SY: It is really the same, it just depends on the personalities of the collaborators. Even though Louis and I have been friends forever, he will do something to one of my photos sometimes that I find shocking, or irreverent. And then I remember, that is why I love his work! But it's hard to see your work sometimes cut up and reassembled. I got over it! I have been known to become precious over my riffs as well. But J. and I worked really well together in White Zombie, and the guitarist I play with now, Johnny Brashear and I work really well together also - no egos clashing at all, more a trading of riffs until the song is built.
BS: In preparation for this interview you mentioned that you have been exhibiting your photography in galleries for the last 10 years. Exhibiting art is very different than performing music in that with visual art you kind of have to sit back while viewers absorb your images. It is not as head-on as standing up in front of an audience-- you are at the mercy of the finished project in that there is no room for improvisation once the artwork is put on display. Has that difference in how an audience takes in your work been difficult for you?
SY: I never thought about it before, but now that you mention it, yes! Ha ha! Live performance is such a direct and shared experience between you and the audience; instant gratification in both directions. Someone taking in your artwork on a wall is a very private, insular thing for that person alone. I almost feel odd being at the openings, but the galleries insist on it. It is awkward though, people probably feeling like they have to make some type of commentary, and the artist feeling unnecessary - what can you really say or add to what you are showing? It should speak for itself, and each viewer should take from it what they want.
BS: Having been involved in both music and art have you-- at any time-- felt as if one passion had suffered for the other? Or would you say that you have kept a balance between the two? Furthermore, do you have any regrets as far as that is concerned?
SY: Always. One has to take a backseat to the other, depending on what I am focused on. I hate it, but it is the only way I can work. I feel guilty, neglecting one for the other. But then I switch and there is a balance down the road, from going back and forth. But I never feel regret.
BS: As far as music goes it often seems that musicians-- no matter what type of music they focus on-- make a greater impact if they are in some way classically trained. I understand that you are a classically trained pianist and I know that others involved in widely successful bands-- Megadeth and Iron Maiden for example-- also have some form of classical training. Have you noticed that link yourself?
SY: Definitely. It just makes sense that once someone is well-versed in a topic, or more accurately, a language, they will be able to create with more impact and directness. If I want to write something to evoke a certain mood, I know what mode to write in, what meter, even what key and time signature. I also know without having to look at an instrument where that song (note or chord-wise) could logically go, or if you want to be jarring, where the interval is that would be illogical to create dissonance or an upheaval.
Not to sound like a total nerd, but music is math and I enjoy the problem solving in the creative process. The same goes with graphics and use of color.
BS: Do you have any advice for emerging artists or musicians-- any insight or warnings to heed? For example, the road to success is often gradual-- people tend to forget that. We live in a world where creative people often want to be an instant success and lose hope when things don't exactly work out right. It all boils down to how one defines success. What are your thoughts?
SY: A truly creative person creates because he has to - it's not for success or money, although those two things are fantastic results when they happen. In this age of lightning quick access and availability of everything, I would hope kids today would be able to focus on what might be a 10 or 20 year climb towards something, perhaps even a lifetime! (At best a lifetime of always evolving creativity!) And although a cliche, the truth is that between being at point A and wanting to get to point B, it is the journey that you enjoy, not the arrival. I promise you this.
BS: In closing, do you have anything else you would like to say to your fans or the creative community in general?
SY: Do your thing!
You can learn more about Sean Yseault by visiting her website-- http://www.seanyseult.com/ Fans of White Zombie and Sean Yseult on Facebook will want to search for the fan page White Zombie/Sean Yseult on Facebook.
Take care, Stay true,
Brian Sherwin
Drummer Chad Smith has confirmed to MusicRadar.com that he won't tour with CHICKENFOOT next year in support of the band's second album due to scheduling conflicts with his main group, the RED HOT CHILI PEPPERS.
Although Smith plans on taking part in the recording sessions for CHICKENFOOT's second album, he will be enable to go on the road with the rest of the band — Sammy Hagar, Michael Anthony and Joe Satriani — because RED HOT CHILI PEPPERS will be touring in support of their long-awaited new album.
"I can't play in both bands next year," Smith told MusicRadar.com. "Believe me, I'd love to play with CHICKENFOOT and I'm pretty certain I'll be able to finish the second record. I'm really excited to get deeper into the mussy with those guys. Touring, though? I don't see how."
He added, "CHICKENFOOT started out as this fun thing to do, then it just got bigger and bigger. Everybody loves it — I love it, too. We have the best time together. But I got this other group. The PEPPERS have festival dates booked for the summer of 2011 already.
"It's funny — I'll be talking to Joe about CHICKENFOOT stuff, then when I bring up the CHILI PEPPERS he'll say, 'Man, I keep forgetting you're in another band.'"
When asked whom he would ike to stand in for him with CHICKENFOOT, Smith said, "I don't have a preference — it's whoever they want. I'm cool with it."
In a recent interview with MusicRadar.com, CHICKENFOOT guitarist Joe Satriani said he had a few replacements in mind for Chad Smith already. Satriani said, "Were Chad not able to be in the band because of the CHILI PEPPERS, I think it would be fun to get somebody really outrageous like Tommy Lee. He's a great drummer, a lot of fun and a crazy personality. We've had some guys sit in from time to time. Some names that have been thrown around are (Paul McCartney drummer) Abe Laboriel Jr. and (LED ZEPPELIN drummer) Jason Bonham — they'd be really great."
CHICKENFOOT frontman Sammy Hagar told The Pulse of Radio that he and Smith have a chemistry that's hard to duplicate. "Him and I, the way we bounce off each other, we make the whole world go round," he said. "And it's not on a creative level, it's just really on a personality level and the way it creates an energy within the band and it makes like a carnival ride. And without Chad I'm not sure we have that."
Satriani added at MusicRadar.com that he thinks Smith will be available in January to record the second CHICKENFOOT album, but might not be able to tour with the band after that.
CHICKENFOOT's self-titled debut disc came out in June 2009 and was certified gold for sales of more than 500,000 copies.
Smith and the CHILI PEPPERS have not released an album since 2006's "Stadium Arcadium". The band parted ways with guitarist John Frusciante last year, replacing him with Josh Klinghoffer, and are working on their 10th studio effort now.
The Pulse of Radio reports that PEARL JAM bassist Jeff Ament has opened up a skateboard park in his hometown of Big Sandy, Montana. According to the Great Falls Tribune, he funded the $40,000 project and was at the park last week for the grand opening. He plans to donate skateboards and safety equipment, such as helmets and pads, to local children who can't afford their own gear.
Ament, who started skating in 1976, said, "As small towns get smaller and smaller, I think it becomes more important for kids to have something to do outside of just school sports. My dad helped me build ramps, now I can give kids around here something else to do."
Next spring, Ament plans to host an event at the park with some of his professional skateboarding friends.
The Pulse of Radio reports that the largest-ever NIRVANA exhibit will open next April in Seattle. According to the Seattle Post Intelligencer, "Nirvana: Taking Punk to the Masses" will feature 200 rare items, including instruments, Kurt Cobain's handwritten lyrics for NIRVANA songs "Spank Thru" and "Floyd the Barber", the yellow cardigan worn Cobain wore in the early '90s, the reel-to-reel tape machine on which he recorded material for his early bands and photos submitted by the band and family members.
Founder/bassist Krist Novoselic said Cobain "was a visionary artist who touched people all over the world. It's great that there will soon be a collection that celebrates that contribution to music and culture. There's a story with NIRVANA at its center, but it's a story that also includes the many people, bands and institutions that make up a music community. The show is a celebration of Northwest music."
The exhibit will run from April 16, 2011 to April 22, 2013.
Former EXODUS frontman Steve "Zetro" Souza has rejoined DUBLIN DEATH PATROL (DDP), the band in which he shared lead-vocal duties with TESTAMENT singer Chuck Billy.
Commented Souza: "On September 21st, I posted a statement for an incident that happened at the DUBLIN DEATH PATROL show on September 18th at Pine Street. At the time I posted that statement, I was really pissed off and I still really am.
"After having time to think about what I said and what has gone on, I just want to first of all say that any of this was not directed at [DUBLIN DEATH PATROL members] Andy Billy, Danny Cunningham, Greg Bustamante, Steve Robello and especially Willy Lange and Chuck Billy.
"Of course, if anybody knows our history together, they would know that those are my close brothers, I do love those guys and they would be the last ones I would want to hurt, so I apologize to them.
"If anybody anywhere in the world thinks that there is any bad feelings or animosity towards them, I'm here to tell you there is none at all.
"As mentioned above, I still am very pissed off at the one person that caused this whole chaos. For what she did and the way she acted was totally unacceptable, and that I won't forgive. The rest I'll let go, and I'm going to continue to play in DUBLIN DEATH PATROL, record the new record, live shows, etc... I'm not going to hold everybody who comes to the shows and has a good time to suffer, because this is what this is all supposed to be about, having a good time.
"So for our friends and fans that come, I've rescinded my original statement that I was going to leave the band.
"I would never make the other guys in the band that have worked so hard suffer for something one person did. Hopefully this is a lesson learned and we can move on from here.
Thanks to all my friends and fans who have come by my house, emailed me, text me, talked to me and supported me in general. You all know who you are, and I love all of you for it."
DUBLIN DEATH PATROL's debut album, "DDP 4 Life", was released in 2007 via Godfodder Records.
Billy originally teamed up with fellow Dublin, California ragers Willy Lange (RAMPAGE, LAAZ ROCKIT), Souza and three of the Billy brothers as well as some other local Dublin boys.
The seeds were planted in or about 1980 with a Bay Area thrash band called RAMPAGE, featuring neighborhood kids from Dublin, California — Chuck Billy, along with his brother Andy Billy, Greg Bustamante, Ernie Boehm and Willy Lange. The guys were about 18 years old and had all known each other since they were about five. They grew up listening to a variety of bands — from LED ZEPPELIN, KISS, AEROSMITH to THE DEAD KENNEDYS and THE SEX PISTOLS — and were influenced by the sounds of the late '70s and early '80s.
Souza recalled how the idea to reactivate the ultimate DUBLIN DEATH PATROL came to him: "Originally it was Willy's and Chuck Billy's idea. The first I heard of getting this project together was at a Raider pre-season game in 2005. Willy was telling me his idea of DDP and getting the old RAMPAGE guys together. But this version would have Chuck and I singing on every song and include different musicians that grew up in Dublin to play on this record. Well, I was right in."
After six months of writing, arranging and restructuring songs new and old. the guys went in to record the DDP album through strains and pains with Vinnie Wojno. Souza boldly claimed, "This is what we have to give to the metal world, a kick-ass, straight-up aggressive and in-your-fucking-face album of music by guys just from Dublin, California. Represented by members of TESTAMENT, LEGACY, EXODUS, VIO-LENCE, LAAZ ROCKIT, TESLA, HEIST and a group of headbanging Dubliners that deserved status. For fans of the Bay Area thrash whom I love and will always, I hope they dig what Chuck and I have done vocally on the DDP project."
For more information, visit www.dublindeathpatrol.com.
British thrashers ONSLAUGHT have signed a deal with Enorm Music, the publishing arm of ICS, which organizes the Wacken Open Air festival. The band's fifth album, "Sounds Of Violence", is tentatively due in early 2011 via Germany's AFM Records. The follow-up to 2007's "Killing Peace" was recorded and mixed at Hansen Studio in Ribe, Denmark with acclaimed Danish producer Jacob Hansen (RAUNCHY, MERCENARY, VOLBEAT, HEAVEN SHALL BURN).
Commented ONSLAUGHT guitarist Nige Rockett: "This is a huge day for the future of ONSLAUGHT and we're so stoked to have landed a publishing deal with such a prestigious and important company in the world of metal music. These guys have a knowledge and vision that is second to none. To be part of the ICS/Wacken family is a massive boost for the band on the verge of releasing our new album, 'Sounds Of Violence'."
Regarding the direction of ONSLAUGHT's new material, Nige previously said, "Musically and lyrically, this is definately the most brutal and intense ONSLAUGHT album to date. It's full of machine-gun riffs, ferocious drum patterns and some pretty fucked up lyrical content.
"This album was never meant to be pretty. It's not a concept album by any measure but there's a definite theme to the whole package, right through from the sleeve design to the music and onto the words;, it's violence all the way.
"There's a lot of hate in 'Sounds of Violence' and a whole lot of reality in there, too, much of it straight from the heart."
Former MEGADETH guitarist Marty Friedman has created and is now heading up the brand new record label, Gokukara Records. The label is a subsidiary of Japan's major label giant Avex. Friedman's solo releases will continue with Avex, and new artists that he works with will come out on Gokukara.
The first release for Gokukara will be the result of a nationwide search through NicoNico Douga (Japan's more modern interactive version of YouTube) and its special community devoted to discovering the first artist/band to make its debut on Gokukara Records.
Friedman and his staff are sifting through entrants, and make periodic status updates as well as live Ustream broadcasts on NicoNico Douga. Due to the sheer number of entrants, only NicoNico Douga community members may create videos for consideration.
As of now, Gokukara is domestic/Japan only and all pertinent information on NicoNico Douga and Gokukara Records web sites is in Japanese.
If you are outside of Japan and are able to use a computer in Japanese, all musicians/DTMs/arrangers are welcome to create videos for submission to NicoNico Douga. Access to NicoNico Douga may be limited outside of Japan depending on territory.
Swedish metallers THE HAUNTED will enter Antfarm Studio in Århus, Denmark tomorrow (Monday, October 18) with the band's longtime producer Tue Madsen (MOONSPELL, DARK TRANQUILLITY, GOREFEST, SICK OF IT ALL) to begin recording their seventh full-length album for an early 2011 release via Century Media Records.
A studio report has been launched at this location and will include frequent updates from the band about the recording process.
Vocalist Peter Dolving told the German edition of the Metal Hammer magazine last year about THE HAUNTED's forthcoming CD, "Looking at the ideas that we're coming up with, looking at the stuff that we're doodling around with, it's gonna be a very heavy and it's gonna be a very strange record. It's gonna be like a continuation of what we started experimenting with both on 'rEVOLVEr' [2004] and on 'The Dead Eye' [2006], so it'll be eclectic and hard. 'Cause around the time of 'The Dead Eye', we felt that we really needed to do something that we hadn't done that we really wanted to do, and we got a lot of critique for it; a lot of people didn't like it. We loved it, and the songs that we're playing off that record are going over really well with the audience and we're really enjoying to play them. So we figure, why the fuck shouldn't we play and continue to try and evolve as musicians and songwriters?! And that's what we'll do."
THE HAUNTED recently signed a new worldwide deal with Century Media Records for the release of the group's next CD.
THE HAUNTED's last three CDs — "rEVOLVEr", "The Dead Eye" and "Versus" — were all issued through the German label.
THE HAUNTED released a live DVD/CD, "Road Kill", in North America on June 8 via Century Media. This crushing live release, which was issued in Europe on April 19, was made available as a DVD+CD as well as a stand-alone CD and digital download. The audio-only release contain the full live-show as well as five previously unreleased or rare studio tracks from the "Versus" recording sessions.
According to a press release, "Road Kill" features an in-depth, very unique on-the-road documentary, footage of THE HAUNTED's intense live performance and the band's recent promotional video clips. The live show was captured on February 13, 2009 at Melkweg in Amsterdam, Holland by Fabchannel and its sound was mixed and mastered by Tue Madsen.
"Road Kill" entered the official chart in Sweden at position No. 29 (album chart) and in Finland at No. 3 (Music DVD chart).
Prosthetic Records has announced the signing of the Augusta, Maine-based, experimental prog-metal sextet LAST CHANCE TO REASON. The band's second full-length album, "Level 2", is scheduled for release in early 2011. The CD was produced by Jamie King (BETWEEN THE BURIED AND ME, THE HUMAN ABSTRACT) and is described in a press release as LAST CHANCE TO REASON's "modern take on the classic progressive concept album. Drawing influence from the '70s prog of KING CRIMSON and YES, composers Steve Reich and Schoenberg as well as prog-metal masters OPETH, DREAM THEATER and CYNIC, 'Level 2' takes the band in awe-inspiring new directions."
Set in a Tron-like virtual world, "Level 2"'s concept revolves around the relationship between man and technology, our move from physical reality to virtual spaces and what these changes mean to our lives and our art. The lyrics are expressed from the point of view of an artificial intelligence facing the violent reality of a videogame world.
Commented drummer Evan Sammons: "We're super-pumped for the signing with Prosthetic as they understand what we do as a band and they are actively involved with a lot of other bands that influence us and our music including as ANIMALS AS LEADERS, GOJIRA, and many more."
Since forming in 2005, LAST CHANCE TO REASON has shared the stage with BORN OF OSIRIS, GENGHIS TRON, PERIPHERY, THE RED CHORD, DAATH, THROUGH THE EYES OF THE DEAD, UNEARTH and many more. Look for the band to hit the road in early 2011.
LAST CHANCE TO REASON will play the MetalSucks/Metal Injection/1000 Knives joint showcase at CMJ this Wednesday night at Europa in Brooklyn, New York.
For more information, visit www.myspace.com/lastchancetoreason.
Swedish female-fronted heavy rock band SISTER SIN will support LORDI on the following dates:
Nov. 08 - Rock Cafe - Tallinn, Estonia
Nov. 09 - New York - Vilnius, Lithuania
Nov. 12 - Live Club Apollo - Turku, Finland
Nov. 13 - Virgin Oil| Helsinki, Finland
Nov. 14 - Hopealyhty Cumulus| Hyvinkää, Finland
Nov. 16 - Majestic Music Club - Bratislava, Slovakia
Nov. 17 - Petöfi Hall - Budapest, Hungary
Nov. 18 - KD Vlatavska - Prague, Czech Republic
Nov. 19 - Bonver Arena - Ostrava, Czech Republic
SISTER SIN's latest video, "Sound Of The Underground", can be viewed below. The clip was directed by Richard Frantzén.
"Sound Of The Underground" comes off SISTER SIN's second album, "True Sound Of The Underground", which sold around 500 copies in the United States in its first week of release. The CD landed at position No. 97 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
"True Sound Of The Underground" was released in North America on June 22 via Victory Records and was issued in Europe on July 23 through Metal Heaven Records. It was produced by Henrik Edenhed (DEAD BY APRIL, ROBYN, LAMBRETTA, TEDDYBEARS, CHRISTIAN WALTZ, THE SOUNDS) in Stockholm at Studio 301 and Cosmos Studios.
In a recent interview with Sleaze Roxx, SISTER SIN vocalist Liv Jagrell stated about the group's current sound, "We are a heavy metal band. On past records we have been more of a rock band, but on the new album I think we definitely got a lot heavier. You can hear a lot of MÖTLEY CRÜE on our last two albums, but on this one we went heavier. To me this is the sound that SISTER SIN had been searching for on previous recordings but we didn't achieve until 'True Sound Of The Underground' . . . Now we're going for more of a JUDAS PRIEST, MOTÖRHEAD and ACCEPT kind of sound. I think we are aiming for a more '80s traditional heavy metal sound."
Sick Drummer Magazine will produce "It's About Time", the first-ever instructional DVD from Sean Reinert of the reunited progressive rock/metal band CYNIC. The filming is scheduled to start in November and will take place just outside San Fransisco, California.
"It's About Time" will walk you through Sean's warm-up excercises, practice routines, posture, stick selection & grip variables, pedal approach, drum tuning/tones, drum selection and much, much more. The DVD will also include the performance and explanation of several songs Sean has recorded with various projects during his amazing — and still flourishing — career. Add to that some live footage and other relative advice from Sean, and you've got yourself a very unique and valuable tool to help improve your playing!
CYNIC recently completed the inaugural Hall of Fame tour. Historic in every sense, the Hall of Fame tour, titled "Re-Traced / Re-Focused Live", saw the band performing Hall of Fame album "Focus" in its entirety, along with tracks from the group's lauded second album, "Traced in Air", and more. Direct support came from progressive masters INTRONAUT and DYSRHYTHMIA.
On May 17, CYNIC released a brand new EP entitled "Re-Traced", featuring reinterpretations of four songs from the group's critically acclaimed "Traced In Air" album as well as a previously unreleased song.
U.K. progressive metal hopefuls TESSERACT have scheduled a one-off headline show tonight (Sunday, October 17) at Paladino's (6101 Reseda Blvd.) in Tarzana, California. Newly signed to Century Media Records, the band is currently touring North America with DEVIN TOWNSEND in support of its "Concealing Fate", EP which was engineered, produced and mixed by TESSERACT bandmembers Acle Kahney and Amos Williams.
TESSERACT's promotional video for the song "Conceling Fate Pt. 1", directed by Khaled Lowe and produced by Campbell Beaton, can be viewed below.
With constant support from the U.K. media, TESSERACT has been able to achieve a loyal following in its home country as well as the rest of Europe, having their video for "Concealing Fate Part II" in constant rotation on Scuzz TV and other media outlets. They've toured throughout Europe, playing everything from clubs to festivals and last spring made it over to Russia for the first of what will surely be many stops.
Formed in 2003 as a solo writing project in the mind of guitarist Acle (who was a founding member in FELL SILENT), TESSERACT first broke through in the scene with their 2007 demo and later appearances at U.K.'s Bloodstock, Hammerfest, Caos Emergente in Portugal and the Hellfire 2 festival at the Birmingham NEC arena. TESSERACT soon become one of the most-talked-about bands among musicians and tech-heads, thanks to the quintet's time signatures and musical complexity.
TESSERACT is:
Acle Kahney - Guitar
Amos Williams - Bass
Dan Tompkins - Vocals
Jay Postones - Drums
James Monteith - Guitar
For more information, visit www.tesseractband.co.uk.
New York-based female-fronted progressive/gothic metallers DESDEMON have inked a deal with Japan's Radtone Music. The band is currently in pre-production for its full-length debut, tentatively due in early 2011.
Commented the group: "Without getting into great detail, the full-length will be a next step in the evolution of DESDEMON . . [The band's current] lineup has not officially recorded yet. [On DESDEMON's debut EP] 'The Awakening' we had a guest keyboardist. For this upcoming album, we are looking forward to a fully orchestrated symphonic power metal album. The album will be dark, somber at times, and full of unbridled rage as only we can bring you! There will be some special guest appearances on the album from some of our celebrity friends that we have crossed paths with in our travels as well. We will also be enlisting the services of Gaetano DiFalco again for another great album cover with the character of DESDEMON."
In other news, DESDEMON will support GAMMA RAY on January 28, 2011 at Gramercy Theatre in New York City.
DESDEMON is:
Mistress Tina - Vocals
Dan Rhodus - Drums
Lord Metadox - Guitars
Ronald Porcelli - Bass
Nickolas Henriksen - Keyboards
For more information, visit www.myspace.com/desdemon.
Washington, D.C.-based metallers DARKEST HOUR will embark on a European headlining tour in January/February 2011. this winter and they couldn't be more excited to get back across the pond. Coming along for the ride will be PROTEST THE HERO, BORN OF OSIRIS and PURIFIED IN BLOOD.
Commented DARKEST HOUR guitarist and founding member Mike Schleibaum: "Put on your winter jacket and get ready for endless nights of good times, because were headed back to Europe. We're bringing the legacy tour overseas — playing songs from our entire catalog.
"We fell in love with Europe in 2000 and have enjoyed touring there for an entire decade. Playing from squats to arenas and everywhere in between, we've made some of our closest friends and have had some of the best times or our lives. Experiencing all forms of cultures and enjoying the beautiful diversity of the European continent has always been a joy for the entire band.
"Since our European bros are true purists, I am sure they will enjoy the set we have cooked up for them."
The dates are as follows:
Jan. 26 - Stuttgart, Germany - Röhre
Jan. 27 - Nijmegen, Holland - Doornroosje
Jan. 28 - Manchester, UK - Club Academy
Jan. 29 - Nottingham, UK - Rock City
Jan. 30 - London, UK - Garage
Jan. 31 - Antwerpen, Belgium - Trix
Feb. 01 - Berlin, Germany - Magnet
Feb. 02 - Aschaffenburg, Germany - Colos Saal
Feb. 03 - Hamburg, Germany - Knust
Feb. 04 - Leipzig, Germany - Conne Island
Feb. 05 - München, Germany - Feierwerk
Feb. 06 - Budapest, Hungary - Dürer Kert
Feb. 07 - Vienna, Austria - Arena
Feb. 08 - Bologna, Italy - Sottotetto Club
Feb. 09 - Rome, Italy - Init Club
Feb. 10 - Aarau, Switzerland - Kiff
Feb. 11 - Trier, Germany - Exhaus
Feb. 12 - Köln, Germany - Essigfabrik
DARKEST HOUR recently entered a North Carolina studio with producer (and SOILWORK guitarist) Peter Wichers to begin recording its new album for an early 2011 release via eOne Music.
This time around, the DARKEST HOUR songs were composed a bit differently than was the case in the past. Schleibaum explains, "We have been working on these tunes ever since we left the studio last April.
"'The Eternal Return' was written during a very dark, bleak time for the band and I think that record matches that in both tone and character. Our vision was for it to be an in-your-face, no-frills aggressive assault. The new material shares in that aggression and pushes DARKEST HOUR beyond the unknown."
Wichers, who has previously helmed such acclaimed albums as ALL THAT REMAINS' "The Fall of Ideals" and SOILWORK's latest effort, "The Panic Broadcast", states, "I am very exited to work alongside the DARKEST HOURS guys, and I know from hearing some of their new material that it will be a killer [record]."
Century Media Records has set an October 25 release date for "Eparistera Daimones - The Complete Sessions" limited-edition vinyl box set from TRIPTYKON, the group formed by former HELLHAMMER/CELTIC FROST singer, guitarist, and main songwriter Tom Gabriel Warrior.
The box set contains:
* TRIPTYKON's "Eparistera Daimones" album on two picture vinyl discs, with gatefold cover, printed inner sleeves, and two posters
* The newly released "Shatter" five-track EP on picture vinyl, with regular sleeve and printed inner sleeve.
The box is made of heavy cardboard with matte finish, silver foil logo print and embossed TRIPTYKON sigil.
The picture vinyls are available exclusively in this box; they are not available separately. The box is limited to 500 hand-numbered copies worldwide.
To purchase a copy, visit CMDistro.com.
"Eparistera Daimones" sold around 1,300 copies in the United States in its first week of release. The CD landed at position No. 27 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
"Eparistera Daimones" was released as a deluxe mediabook CD edition (including a 28-page booklet and extensive liner notes) as well as a gatefold double LP via Century Media Records under exclusive license from Prowling Death Records Ltd..
"Eparistera Daimones" is not only musically a leviathan. Remarkably, the album also features the epic artwork by renowned Swiss artist H.R. Giger and New York-based surrealist Vincent Castiglia.
In an exceptionally rare gesture, H.R. Giger has granted TRIPTYKON the use of his dramatic painting "Vlad Tepes" (work no. 412, 200 x 140 cm, acrylic on paper on wood, 1978). It is the artist's first authorized appearance on an album cover in 17 years, and the second time he collaborates with Warrior (following CELTIC FROST's "To Mega Therion" album in 1985).
Vincent Castiglia contributes "Triptykon", a specially created portrait of the members of the group, painted in the artist's own blood (86 x 86 cm, blood/iron oxide on archival paper, 2009). As Castiglia aptly put it, the amalgamation of works by H.R. Giger, Vincent Castiglia, and TRIPTYKON on "Eparistera Daimones" forms a creative triptych in itself.
"Eparistera Daimones" also features detailed credits, full lyrics and extensive liner notes to all songs.
TRIPTYKON consists of V. Santura (guitar, vocals), Norman Lonhard (drums, percussion), Vanja Slajh (bass), and Tom Gabriel Warrior (voice, guitars). The group has unambiguously stated that it pursues the continuation and further development of the path Warrior began in HELLHAMMER and CELTIC FROST.
Not having publicly responded to MADBALL vocalist Freddy Cricien's comments to the press regarding drummer Jay Weinberg's departure from the band, Weinberg — the 20-year-old son of Max Weinberg (BRUCE SPRINGSTEEN AND THE E STREET BAND) — has decided to "set the record straight."
"There has been so much noise on the internet regarding my parting ways with MADBALL — largely distorted — that I wanted to take the opportunity to set the record straight as I see it," Jay says in a statement that was released to BLABBERMOUTH.NET. "Then anyone who is interested can make up their own mind.
"Freddy Cricien has most recently inaccurately described my participation in the writing and recording process of MADBALL's latest project, 'Empire'.
"Throughout the several months-long writing and rehearsing process held at MADBALL's Queens, New York workspace, I was fully engaged in the writing of the music for this album. As important as Freddy's lyrics would become when the music was finished, he was only present at those pre-recording sessions on two or three occasions.
"The recording went well, evidenced by the final release, and I am proud of my contributions to the music — live and in the studio.
"However, Freddy has grossly mischaracterized my time with the band in the press; yet I have not responded publicly to any MADBALL statements.
"Until now.
"I agree that MADBALL will be better served by an individual more attuned to their particular lifestyle and, occasionally, a new band member will grind gears with longtime members over non-musical issues. To each his own.
"But, let me be clear — while I really enjoyed playing the music, I do not subscribe to their choice of habits and lifestyle. This past August while on tour in Europe, disturbing events within the band indicated to me that it was time for me to move on.
"While on tour in Canada in September, I informed Freddy, Mitts, and Hoya of my decision to leave — but not before they had found a replacement.
"The very next morning came Freddy's press release and claim that he had 'released me.'
"Well, that's just not the case.
"It is true that everyone is entitled to their own opinions — but not their own facts!
"Timing is everything, and who would disagree that one cannot be fired after having quit — decisively, amicably and well in advance of Freddy's harsh and public 'spin' of the facts.
"Bottom line — check out MADBALL's new release, 'Empire' — I'm proud of it, MADBALL should be proud of it, and, I believe that MADBALL's fans will love it!"
Fans can learn the latest news on Jay Weinberg on his Facebook page.
"Empire" was recorded at Mana Recording Studios in St. Petersburg, Florida with producer Erik Rutan, who has previously worked with MISERY INDEX, CANNIBAL CORPSE and GOATWHORE, among many others.
Since forming in 1988, MADBALL has been responsible for some of the most important releases in the hardcore genre, from the seminal "Ball of Destruction" EP (1989) to the landmark albums "Set It Off" (1994), "Demonstrating My Style" (1996), "Look My Way" (1998), "Hold it Down" (2000), "Legacy" (2005), and their last release, "Infiltrate the System" (2007).
New York's progressive noise-metal shredders GENGHIS TRON have issued the following update:
"Things have been pretty quiet for GENGHIS TRON recently, which has led some folks to ask us if we're breaking up. Well, we definitely aren't breaking up, but we have decided to take some time away from the band.
"It will be a while before we release another record — and probably even longer before we play shows. However, this was the best thing we could do to make sure that GENGHIS TRON keeps writing some real toe-tappers. Whenever we come back, it will probably be pretty weird and really good."
GENGHIS TRON recently got a namecheck on "All My Children", the ABC TV network soap opera which has been broadcast in the U.S., Monday through Friday, since January 5, 1970.
GENGHIS TRON's latest album, "Board Up The House", was named Rock Sound magazine's 2008 "Album Of The Year," as voted by RS staff and writers. This year-end honor was presented to GENGHIS TRON in Rock Sound #117 (Jan. 2009), which is viewable at this location.
The track "Board Up The House" by GENGHIS TRON, as remixed by Renholder, appeared in the film "Underworld: Rise Of The Lycans", which was released in January 2009. The song plays over the movie's end-credits sequence and also appears on the official "Underworld: Rise Of The Lycans" soundtrack.
Florida death metallers SIX FEET UNDER have issued the following update:
"Unfortunately, our upcoming OctoberDeath tour of Spain, Italy, France and Portugal has been postponed due to reasons beyond the band's control.
"SIX FEET UNDER would like to apologize to our fans and we hope the dates will be rescheduled in the near future. Again, our sincere apologies to all and we look forward to seeing everyone out on the road once new dates have been locked down."
Affected dates:
Oct. 22 - Recanati, Italy - Extra Club
Oct. 23 - Pinarella Di Cervia, Italy - Rock Planet
Oct. 24 - Rome, Italy - Alpheus
Oct. 25 - Goriza, Italy - Pieffe Factory
Oct. 27 - Marseille, France - Le Korigan
Oct. 28 - Barcelona, Spain - Razzmatazz 2
Oct. 29 - Madrid, Spain - Ritmo And Compas
Oct. 30 - Corroios, Portugal - Cine Teatro Corrios
Oct. 31 - Bergara, Spain - Jam
The third installment of SIX FEET UNDER's cover series, "Graveyard Classics 3", sold around 800 copies in the United States in its first week of release. The CD landed at position No. 31 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
Released on January 19 via Metal Blade Records, "Graveyard Classics 3" was recorded at D.O.I. Digital Audio in Tampa, Florida, was mixed at Audiohammer Studios by Mark Lewis, and was produced by vocalist Chris Barnes.
SIX FEET UNDER covered AC/DC's entire "Back In Black" album for "Graveyard Classics 2", which came out in October 2004.
The original "Graveyard Classics" LP, was released in October 2000. It included cover versions of BLACK SABBATH's "Sweet Leaf", DEEP PURPLE's "Smoke on the Water" and JIMI HENDRIX's "Purple Haze".
Norwegian extreme metallers PANTHEON I have issued the following update:
"If PANTHEON I has seemed uncharacteristically quiet recently, it's because the band have been very, very busy working on things behind the scenes. However, we thought we'd take a few minutes breather and update you on what has been going on.
"First of all, as you all know, we've been looking to increase the band by one more person with the addition of a vocalist. With the band expanding so much musically, this will allow Kvebek to put all his energies into the guitar, and give the band a frontman who is free to roam the stage and interact more closely with the audience.
"Seems that there are a lot of very skilled vocalists out there who are interested in joining PANTHEON I and we are spending a lot of time listening to demos and doing live auditions.
"As a band we put 101% into what we do, so the right person for us will not only be good at what they do, which includes singing in both Norwegian and English, and being able to perform both clean and extreme vocals, but also be willing and able to rehearse in Oslo regularly and definitely have a good sense of humour to fit in with the rest of us.
"Secondly, we have been working our asses off recording the pre-production for the next album. We already have 13 new songs ready and whilst we would really like you to hear what you can expect, you'll just have to wait! We are ready to throw a few surprises your way, and the wait will be worth it.
"December, of course, sees us heading to Germany to co-headline the Ender Der Zeit tour with our colleagues from TROLLFEST. Also on the lineup will be the German bands FINSTERFORST and UNLIGHT, as well as local supports.
"PANTHEON I are always eager to get on the road, and we're thinking this short tour, which takes place just before Christmas, and hence during the period when everyone is up for a bit of celebrating, will be a lot of fun for bands and fans alike."
The dates are as follows:
Dec. 17 - Klangstation - Bonn, Germany
Dec. 18 - Black Troll Winterfest - Eisenberg, Germany
Dec. 19 - HSK - Cottbus, Germany
Dec. 20 - [to be announced] - Berlin, Germany
Dec. 22 - Rock It - Aalen, Germany
PANTHEON I's video for the song "Serpent Christ" can be viewed below. The song comes off the band's latest album, "Worlds I Create", which was released in July 2009 on Candlelight Records. The CD includes a guest appearance on the track "Ascending" from KATATONIA frontman Jonas Renkse.
REVOLTING — the Swedish death metal band featuring Rogga Johansson (PAGANIZER, RIBSPREADER) — will release its third CD, "In Grisly Rapture", in early 2011 via FDA Rekotz. The group states, "So far the album contains of nine songs, one of which is an instrumental. The songs are the most catchy yet most brutal REVOLTING has spewn forth so far. We are sure you will be revolted!"
A new REVOLTING song entitled "The Plague Of Matul" is available for streaming on the band's MySpace page.
REVOLTING is dedicated to the absolute worship of late '80s death metal (CARNAGE, IMPETIGO) and horror/gore films from the 1980s. The band chose its name "to reflect the gross, nasty, gory, and insane horror films from the '80s such as 'Street Trash', 'The Blob', 'Redneck Zombies', and other mutant gross-out fests that make life worth living," according to a press release.
Dutch brutal death metallers SUPREME PAIN, who feature in their ranks members of SINISTER, CONSOLATION, PUTREFIED and FONDLECORPSE, have parted ways with drummer Toep Duin and have replaced him with Paul Beltman (SINISTER, FONDLECORPSE, INFINITED HATE, WEAPONS TO HUNT, JUDGEMENT DAY). The band states, "Toep decided to quit SUPREME PAIN because of personal issues he need to arrange. And because of that he could not combine that with playing in SUPREME PAIN. It is sad, but we understand his decision and wish him all the best for the future. We had a kick-ass time together and also shredded some sick gigs."
SUPREME PAIN's current lineup:
Aad Kloosterwaard - Vocals
Erwin Harreman - Guitars
Bas Brussaard - Guitars
Alesa Sare - Bass
Paul Beltman - Drums
SUPREME PAIN will enter Soundlodge Studios in Leer, Germany on January 15, 2011 with producer Jörg Uken to begin recording its third album.
The band's second full-length CD, "Nemesis Enforcer", came out earlier in the year via Metal Age Productions from Slovakia.
For more information, visit www.myspace.com/supremepainofficial.
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